JSngry

So are you a-dancing, fool?

Von Freeman is a bad motherfucker. MG - you need to track down the live Milt Trenier thing on Cadet. Von's in the backing band, and although he's not prominently featured, what's there is choice (apologies to Spencer Tracy, who I otherwise find a bit piffelish). Show BIDNESS baby! :tup :tup

This is the shit.

Ass down the throat is infinitely preferable to throat up the ass. Tongue up the ass, though, is a wonderful thing, and if you find a woman who's into doing that, treat her very special. Of course, if that's not the side of the street you walk down, proceed accordingly, and bon chance! Otherwise, I feel your pain and can only hope that you stay on to contribute.

Correct on all counts. David Lee was chanelling GOD on that cut It's still magic for me, and I was really upset when the CD didn't sound right, but oh well. I've taken good care of my record.

All the more reason to get out of town & start dancing. And sincerest positive thoughts (sent in various forms, some of which might be considered "prayer") to George Cables. His Rhodes work on Rollins' "Poinciana" is for me the sweetest sounding example of that instrument on record, bar none (but you gotta hear the LP to hear it right). That was my first exposure to him, and it still tickles the ears in a most pleasurable manner.

You got to fight for your right to party.

Yes, on Impulse--should still be available in the Verve LPR series. If you ever see the Impulse sequel MORE OF... floating around used at a halfway decent price, that's worth snagging as well. (I think it's been out only as an import on CD.) Both were reissued together on a single late-80s MCA/Impulse! CD, which is how I have them.

We can dig it.

Not knowing the Mantooth arrangement, though, I can't say he does or doesn't deviate from the original song form. Still - learn the lyrics!

It does go on, doesn't it... Can't reel off the form off the top of my head, but I strongly suggest that you become familiar with a vocal version. The structure actually seems organic in the context of the lyrics, which give you something to hold on to when playing/learning the song instrumentally. Trust me on this. Myself, I really dig the Louis Prima/Keeley Smith version, but there's others that are more "in-line" There's a great late-40s Stan Getz side where he just blows on the changes, no head or nothing, called "Diaper Pin". That's something to hear! But definitely - learn the lyrics. It's easier than counting bars and is a lot more musical to boot.

I say be the black private dick that's a sex machine to all the chicks. Right on.

I've got the 80s King CD, which lists no personnel. To find out who is playing on it is pretty darn interesting! I like Alexandria, but have never really "gotten into" her that much. No real reason, she just doesn't grab me the way that lots of other singers do. I hear a certain lack of distinctiveness (if that's something you can hear...), but then again, maybe that is her distinctiveness. Anyway, it's my problem, not hers. I do like the side she did w/Ramsey Lewis, the one Dan mentions, more than the others.

I think you oughta ask chewy where he got that 8-track.

Yeah, and it just reinforces how non-erotic simple fucking is and how powerful, dangerously powerful, making love is. Vulnerability's a bitch, but there's no other way to get there... I mean, there's only one "fuck" on the entire album, and it's used in a non-sexual way, plus it's bleeped out (sic). But there's a lot of frank, non-"street" talk about the mental/physical/spiritual synergy that goes on during true, deep lovemaking, and it's....intense, almost intense as the acts themselves, all the moreso coming from the perspective of a recently divorced woman who's wondering just how the hell it happened to her. Again, the comparisons to Marvin Gaye's Here My Dear are both favorable and appropriate. Even if the entire album's not explicitly about that type of post-divorce soul-searching, the spirit of same runs through the album from start to finish. At least it does to me. And oh by the way - Jill Scott is one helluva good singer.

Yeah, it was kinda funny how that went. You had praised it in an e-mail, and a few days (nights, really) later, I'm at work when I notice a young-ish lady listening to it. I ask her if I could borrow it when she was finished with it and she said sure, no problem. Well, I kept it all night, and she had to ask for it back. She only knew me as an "old jazz guy" and was really puzzled why I was going apeshit over a Jill Scott record. I started telling her about all the different musical activities & interests I have/had, and pretty soon she started looking at me like "who ARE you?" , so I stopped, just smiled & said thank you, & went out to buy the CD the next day. When I showed up at work with it the next night, she really looked at me funny, kinda like, "o...k...how long until this old fool starts hitting on me?" And then when I didn't, she was really...perplexed. What kind of a world do we live in anyway? :g :g

Oh, it is. It'll get you, Lon, I know. But I don't know nothing about no movies w/Janet Jackson and stuff.

Probably will be. This new album is anything but, though.

And what sort of prosthetic devices does this involve?

Just got this yesterday, so opinions are still raw, but...hey. Nowhere near as "optimistic" as Beautifully Human, but every bit as powerful. Seems that Jill's been through a divorce since then, and a lot/most/all? of this album is self-confrontation/affirmation/etc./whatever. It's got the mojo of Marvin's Here My Dear in many spots, only it's coming from the POV of a sane, sober woman. And that makes it very, very powerful stuff. Some of the lyrics are also intensely erotic w/o being "vulgar". You can tell that she made a lot of great love while married, misses the hell out of it, and wonders why it wasn't enough. And I get the impression that it's not just sex that she wonders this about. Then again, Jill Scott has always been somebody to examine things on a holistic level, I think. Anyway, if you can listen to some of these songs without wanting to immediately couple with your life-partner, you're a "stronger" human than I am. The first few listens (I hit it about 4-5 times last night), I was disaappointed that there wasn't as much musical diversity as on Beautifully Human, but then I got to listening closer and realizedthat the music fit the lyrics, and that there was more variety inside the arrangements than I had first heard. So even though Beautifully Human is one of those truly magical albums that's all over the place while being in the same place & this one works a somewhat narrower zone, both have what it takes to reach deep down inside, becaue deep down inside is where they're both coming from. Beautifully Human is joy tempered by "universal" reality, The Real Thing is more like hope successfully struggling to stay on top of a far more personal - and intense - reality . In neither case is the shit fake or otherwise manufactured. Jill Scott is one helluva talent, and this album is highly recommended.

I don't get Jerry Garcia and/or the Dead, although a lot of people I respect do. But me? Nothing. Most of it sounds like something that would be better if it were something else. But again, that's just me.

When a Beastie Boys thread turns into a God thread, it's probably time to seek profesional care.

You should be watching Bourdain tonight.

I remember a version of "Dreams Of The Everyday Housewife" by Wayne Newton starting to take off when BAM here came one by Glen Campbell that knocked Wayne out of the picture. What was weird was that both versions were on Capitol. Less successful was the attempt by Bobby Vee to get a hit off of Kenny O'Dell's "Beautiful People". This was all late 60s stuff though, the last time I can think of that it went on in Top 40 circles. I bet it might still go on in Country. There it's all about the song.

OOPS! Sorry.